JOSEPH is the Oregon-bred sister duo of Natalie and Meegan Closner, known for their powerful harmonies, emotionally honest songwriting, and genre-blurring blend of indie pop, folk, and rock. Since releasing their breakout debut I’m Alone, No You’re Not in 2016—which featured their hit single “White Flag” and landed them on The Tonight Show, TODAY, and the Billboard charts—the band has steadily built a devoted following through gripping live performances, national tours, and appearances at major festivals including Coachella, Glastonbury, and Bonnaroo.

Over the years, JOSEPH has released a string of critically acclaimed records including Good Luck, Kid (2019) and The Sun (2023), praised for their rich vocal arrangements and soul-baring lyricism. With the recent departure of their sister Allie, the band enters a new era as a duo—leaning into greater vulnerability, creative autonomy, and emotional depth.

Their upcoming album Closer to Happy (via Nettwerk) marks their boldest and most personal work to date. Co-produced with Luke Niccoli (Carly Rae Jepsen, Miya Folick), the project explores themes of grief, self-trust, and radical self-acceptance. Whether through triumphant anthems like “I Believe In Myself” or gut-punch ballads like “Bye and Bye,” JOSEPH continues to turn lived experience into songs that resonate far beyond the surface.

Sarah Klang is one of Sweden’s most quietly commanding voices, a singer who’s managed to make melancholy feel like a kind of courage. Born in Gothenburg in 1992, she emerged in 2016 with the single “Sleep”, a dreamy slice of pop that hinted at the blend of Americana warmth and Scandinavian introspection that would come to define her sound. Her 2018 debut “Love in the Milky Way” captured that balance perfectly, pairing sweeping, cinematic production with lyrics that treated heartbreak not as collapse but as transformation. The album topped the Swedish charts and earned her a Grammis, setting the tone for a career defined by emotional clarity and creative restlessness.

Across “Creamy Blue”, “VIRGO”, and “Mercedes”, Klang’s voice rich, bruised, and human remained the constant, even as her sound evolved from sparse, country inflected ballads to lush synth pop textures. She writes songs that feel lived in, tracing the contours of love, loss, self-doubt, and, more recently, motherhood with a diaristic tenderness. There’s a sense that she isn’t performing emotion but studying it, giving her music an intimacy that lingers long after the song ends.

Klang’s latest record, this year’s “Beautiful Woman” produced by Eric D Johnson (Fruit Bats, Bonny Light Horseman etc), continues that evolution, turning her gaze toward the contradictions of modern womanhood: the beauty and the fatigue, the confidence and the fragility. Through it all, she keeps her songwriting rooted in truth, refusing to smooth over the rough edges. Her music is proof that vulnerability can be its own form of strength that pop, when written from the inside out, can still feel sacred.

Sarah Klang’s been touring the US frequently this past year with headline shows at Summer Stage in New York, Americanafest in Nashville and support shows with Bonny Light Horseman as recent highlights.